When a mysterious sound starts terrorrizing the Greenlandic youth, Ivik, a young homosexual high school student discovers that he perceives the sound differently than his peers. In meeting the danish boy David the two embark on a journey to find the meaning of the sound in hopes of finding themselves.
I was really excited to work with writer Morten Mortensen & directors Alexander Ohrt and Natalia Anna Ciepiel in the pre-production process. This ment that the sound work could have a serious impact on the storytelling. We did this by doing soundscapes and atmospheres as Morten was writing. As we went the story adapted as a story does in this proces, but the big difference this time was, that every time Morten was done with a draft, then I would read it through and write out how i heard the scene in my head and how I though this could have a storytelling value. I would give Morten a folder full of sounds, that he would listen to as he wrote out the scenes.
Because I came into the process of Polar so early ment that I would have a long time to make sure that I had the sounds necessary to design the final sound of the film and further more have time to think about the concept that we talked about in the writing process.
Sound recordist and Foley artist: Peter Seeba
Foley recorder: Jakob Strandgaard Davidsen
Dialogue Editor: Jacques Pedersen
Additional sound effects: Ann Kroeber